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Now I want to talk about the Oscars (2011)

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I think this year is going to be a bit of a war between Black Swan and True Grit. I will be surprised if Portman doesn't get best actress, very surprised.

I am disappointed that Mark Wahlburg didn't get a nod. I'll admit that I haven't made it out to see The Fighter yet, but I think he is very talented and am confident that he does a great job. Of course looking at the nominees for best actor, it looks like they had to make some tough choices. Those guys all did amazing jobs in their roles.

I am also disappointed that Joseph Gordon Levitt didn't get any love. The best supporting actor category looks far less competitive and I thought he did a fantastic job.

I'm torn between Black Swan and Inception for cinematography and Black Swan and True Grit for director.

I'm betting on the chick from True Grit for supporting, as well as Geoffrey Rush.

Looks like The King's Speech actually got the most nominations out of any film. I don't know if that's a good or bad sign. It may not end up with much at all, who knows.

Also, a little confused as to why Toy Story 3 is nominated in the Best Adapted Screenplay category - according to the rules any sequel is considered 'adapted', since it draws on the original film. Yet Toy Story 2 was nominated in the Best Original Screenplay category. Go figure. Seems like they're just trying to shoehorn Toy Story 3 into as many categories as possible.

Surprised Daft Punk didn't get a nod for the Tron score. It's certainly better than a few of the scores nominated. I'd like to see Reznor/Ross win it for The Social Network though. That is a great score even if (in my opinion) it wasn't particularly well used in the film.

when are they this year anyways? I'm guessing the end of February. But didn't they used to be at the end of March?
And who's hosting them? I don't think I will be ready for a barrage of Ricky Gervais jokes.

Colin Firth should've have gotten one last year for A Single Man, but I can't squawk about it because Jeff Bridges has been neglected for his entire career so he totally deserved it too. I hope Colin Firth wins for The King's Speech because it's just what should happen. Other than that I just want to look at dresses and diamonds and Tom Ford tuxedos and go to bed.

I saw True Grit tonight. I am hoping to see the King's Speech and The Fighter within the next week or two. I really loved True Grit. Jeff Bridges was AMAZING. I think this performance is more worthy than Crazy Heart, but I'm not saying he's the best this year, cause I don't know yet.

I'm sort of confused about Hailee Steinfield. Why does her role qualify as supporting and not leading? I would look at it as she and Bridges leading and Damon supporting. Bridges role definitely overshadows her, but I don't think that makes her a minor character. I dunno. Everyone has been raving about her and I think she did a good job, but I don't think it was all that amazing.

Also, the ending of that movie sucked. It was so great all the way through, and then just... lame.

Blue Valentine got robbed. It was the best movie of the year, one of the best scripts, had two of the best performances, was astoundingly well directed, had amazingly realistic makeup effects, and the soundtrack was brilliant. To add insult to injury, the only category it is even nominated for (Best Actress) will definitely go to someone else (Natalie Portman -- and deservedly so, I suppose; this is the only other performance I've seen this year that is on par with Michele Williams').

David Fincher shouldn't win best director, because his directing had nothing to do with how good that movie was. Everything Finchery about the movie was superfluous or even distracting. The script should easily win for best screenplay, though, and I'd be ok with Jesse Eisenberg winning for best actor since neither Ryan Gosling nor Joaquin Phoenix (for I'm Still Here) weren't nominated and therefore can't win. Both performances were more deserving than anything else I've seen this year. I haven't seen Kings Speech, True Grit, Biutiful or 127 Hours, though, so maybe those are all deserving, but on principle alone I'd give it to Javier Bardem.

Black Swan shouldn't win best movie because as good as it was, it wasn't nearly as entertaining as The Social Network, or as impressive as Inception, or even in the same league as The Wrestler which didn't win last year. If the only change you made was to switch Mila Kunis and Natalie Portman with Jennifer Tilly and Shannon Tweed, you'd go from having an Oscar contender to a Skinamax movie of the week.

Either Inception or Black Swan should win for cinematography (although I'm sure True Grit looks amazing). Who cares about animated feature (it'll probably be Toy Story 3 anyhow), costumes or best supporting actress/actor.

I'm not sure what's nominated for music, but neither Tron nor Blue Valentine were nominated, which is shit. And no matter how much I enjoyed the soundtrack to The Social Network, it was more distracting (hey, it's fucking Trent Reznor!) than actually important to the film, and the soundtrack to Black Swan was nowhere near as good as any of his other films. Again, Fincher being Fincher wasn't a bonus for The Social Network. Uwe Boll could've taken the same script and made a decent movie from it.

Agreed about The Social Network. Fincher certainly needs to stop using that same damn lighting filter in every fucking movie he makes.

He doesn't, his last three films where digital(including The Social Network), well he used film before hand, I don't think I need to say that there's in different in lighting between the two. Besides it isn't even the director who decides which lighting to use its the cinematographer. Your most likely saying this since Jeff Cronenweth was also the cinematographer for Fight Club.

On the snubbed side of things how The Town only got a best supporting actor nom for Jeramy Renner, a award he's not going to win (not that he didn't deserve it). Not even a best pic nom, even with the increase form five to ten, or best director.

Anyways here are my Oscar picsBest Picture: The Social Network. No other film worked as well as a whole then this. None!Actor In a Leading Role: I have no clue, its anyones guess really. I kinda wanna see Javier Bardem take it since foreign films rarely get any Oscar love. Especially foreign language films. But I kinda like actually having a category I'm stumped on who's going to win. I'll put money on Colin Firth though.Actor In a Supporting Role: Christen Bale. Hands down, no one else has even a chance.Actress In a Leading Role: Natalie Portman. Why Hailee Steinfeld isn't nominated in this category and give Portman a run for here money I have no idea. But instead she's nominated for.....Actress In a Supporting Role: Hailee Steinfeld. She overshadowed everyone in that film. Everyone!Best Director: David Fincher. It's largely overdue at this point. But I feel Christopher Nolan was snubbed here.Best Animated Film: Toy Story 3. When does Pixar not win? I'm just saying, shouldn't they just give them an Oscar when they release a film at this point. It would save them money I think.Best Art Direction: Inception. It has to win something. No that it doesn't deserve it. But if it doesn't win it'll go to The Kings Speech.Best Cinematography : Inception. But Black Swan does have a chance at it as well.Best Costume Design: The Kings Speech. Again I kinda wanna see I Am Love take it see some foreign film love, but I'm doubtful.Best Documentary: Restrepo. I glad Waiting For Superman wasn't nominated though, It promoted the things that destroy schools. I will stop here before going on for a never ending rant on the horrid education system everywhere.Film Editing: 127 Hours. Like Inception, It has to win something. But every other film has a chance of taking it, I'm leaning toward 127 Hours though.Best Foreign Language Film: Beautiful. But I'm cheering for Incendies in Canadian pride, even if its frenchie. Beautiful is going to take it though.Makeup: Barney's Version. Its the Oscars going 'we saw you there, sorry for nt getting nominated for the awards you deserve, but we'll give you this one.'Original Score: The Social Network. Since Torn wasn't nominated, the score was the best part of that movie.Original Song: "We Belong Together" Toy Story 3. I haven't heard the songs form Tangle or County Strong, but I'm doubtful they will win, Tangled because it isn't Pixar, Country Strong because well, its Country Strong.Sound Editing: Inception. Only Toy Story 3 provides any competition. But it'll go to True Grit because Toy Story 3 is animated and Inception was directed by Christopher Nolan.Sound Mixing: Inception or The Social Network. Visual Effects Inception. It can't loose here. Beside who would get it then? Alice in Wonderland? Hereafter? Iron Man 2? Hahahahahahahahah.Adapted Screenplay The Social Network.Original Screenplay The Fighter. Why was The Kids Are All Right was nominated in this category? The film had things going for it, but the script was the worst part and nearly derailed the entire film.
Done.

The Town was ok, but it was hardly a great movie. It was derivative of every good movie from Heat to Good Will Hunting to Dark Knight. Literally, for the first half of the movie at least, you can tell that each and every scene was nicked from some older, better movie. The only thing they did that was particularly well done was the car chases. I think Afflack will be a good director, but right now he's in the same group of blah directors as Ron Howard and the like.

As far as the lighting goes: if you think Fincher doesn't have a say in how the way the movie is lit, you're a fucking idiot. He's not setting out the lights, but he's had long and thorough discussions with the DP and the lighting tech, and they give him what he wants. And what he wants is dark and moody, which didn't add anything whatsoever to The Social Network.

And yeah: totally forgot about Inception's theme. That should get some award for something. Best sound? Best song?

The thing that bugged me the most about the Social Network, and I mean it drove me nuts, was the scene in the club. I get that the music blaring gives the feeling of what it would be like to actually hold a conversation in that place, but I was straining to hear and I didn't appreciate it, it was too loud and it lasted too long.

And I think both Black Swan and True Grit were better than the Social Network. I hated the ended of True Grit, but I can ignore that.

As far as the lighting goes: if you think Fincher doesn't have a say in how the way the movie is lit, you're a fucking idiot. He's not setting out the lights, but he's had long and thorough discussions with the DP and the lighting tech, and they give him what he wants. And what he wants is dark and moody, which didn't add anything whatsoever to The Social Network.

Thank you. I don't think BPL knows what a director does.
With a few exceptions all of his output has pretty much the same dark, moody lighting since his days as a music video director. So, I'm pretty damn sure it has something to do with him. I like his films, but sometimes that kind of lighting design is just not appropriate.

Personally I think the script is the only part of The Social Network worth getting excited about, aside from the soundtrack.

The acting in Social Network was good, as well. But as far as directing is concerned, the only scene that jumped out at me at all as particularly interesting was the rowing chamionship. The rest of the movie, Fincher mostly just packed it in and told the story without getting in the way, which was the wise choice because the story is the movie.

Social Network was a better movie than Inception (or not, it's a toss-up), which was a better movie than Black Swan. Those are the only ones up for best picture that I've seen, and each of them are flawed films. None them are nearly as complete as Blue Valentine. The only thing I would change is that I don't believe Ryan Gosling's character would have smoked a cigarette in front of his daughter. That's it. That's literally my only critique.

Also, I haven't looked, but was Dogtooth nominated for best foreign feature? Because it's amazing and it deserves to be. I haven't seen Biutiful -- I'm looking forward to it, and I'm sure it's amazing -- but Dogtooth was like nothing I've seen before. A perfect mix of Michael Haneke and Wes Anderson.

I saw Inception again. The more I think about it, the more I believe it was WAYYY overhyped, and it certainly isn't better than Black Swan, nor is it better than The Social Network. Black Swan should definitely take the prize. I saw no real flaw in it (then again, I'm no dancer).

I can't get past True Grit's fail of a climax. The rest of it is so fan-fucking-tastic, though. Too bad.

Yes, Blue Valentine was the shit. What the hell? Why isn't it up there in place of The Fighter? Last year it was Moon, now it's this. Da fuck is going on...?

Black Swan was not that good of a movie. It was repetitive (oh, broken fingernail! oh, broken toenail! oh, another scratch on her back!), and the ending was a complete copout. She should have looked down from the platform, saw that there wasn't a mattress there, and jumped anyhow, totally giving into her character, only to land on the mattress that was there all along. Or, there really wasn't a mattress there and she died. Either way, the ending was shit, and the entire movie went up in smoke at that point. The cinematography was still really good. The acting was still really good. The rest of it was total meh.

And yeah, I'll see about getting around to True Grit. I might d/l it and check it out in the next couple of days. The trailer put me off a bit, but I like the Coen brothers and Jeff Bridges, so I figure it'll be good. I just keep hearing about how bad the ending is and then I find something better to do with my time.

As far as the lighting goes: if you think Fincher doesn't have a say in how the way the movie is lit, you're a fucking idiot. He's not setting out the lights, but he's had long and thorough discussions with the DP and the lighting tech, and they give him what he wants. And what he wants is dark and moody, which didn't add anything whatsoever to The Social Network.

Thank you. I don't think BPL knows what a director does.
With a few exceptions all of his output has pretty much the same dark, moody lighting since his days as a music video director. So, I'm pretty damn sure it has something to do with him. I like his films, but sometimes that kind of lighting design is just not appropriate.

Personally I think the script is the only part of The Social Network worth getting excited about, aside from the soundtrack.

Kit do you know what a director does? I'm actually asking you and I want a answer. Please in your words tell me what a director does.

To limit it to 'dark, moody lighting' is pretty ignorant. In truth the only film Fincher did that can fit into that category completely was Zodiac because it was a straight up noir. Panic Room, The Game and Seven where more neo-noir and had more flourish to it, so "dark and moody" just doesn't fit, or at least is extremely limited. Fight Club and The Social Network had the realistic, florescent lighting, like in real life, which may be dark, but never moody.

The intent was to create a mood. Fincher wanted dark; dark creates a mood. It's very simple. He could have shot the entire movie with the bright fluorescence of a hospital and it wouldn't have impacted the story one bit. Sometimes (Fight Club, Zodiac, Seven, Panic Room) being dimly lit and moody is beneficial. Sometimes (Social Network) it is an unnecessary distraction. Best Director contenders should know the difference.

I really don't understand why people had a problem with the ending of True Grit. The only criticism I have is that it was difficult to understand Jeff Bridges at times when he used his Gabby Johnson voice:

The intent was to create a mood. Fincher wanted dark; dark creates a mood. It's very simple. He could have shot the entire movie with the bright fluorescence of a hospital and it wouldn't have impacted the story one bit. Sometimes (Fight Club, Zodiac, Seven, Panic Room) being dimly lit and moody is beneficial. Sometimes (Social Network) it is an unnecessary distraction. Best Director contenders should know the difference.

Clubs are dark and college dorm rooms in the middle of the night are dark, so if a club is dark and a college dorm room at two am is dark in The Social Network than its completely unnecessary.

I have a problem with the ending of True Grit because after identifying with this character the whole movie we are thrown 25 years in the future to a grown woman we don't know to see her travel to see a man who is dead when she gets there. So she lost her arm and she never saw the dudes again. What kind of conclusion is that? I don't understand the point of seeing her grown when we don't really get the chance to learn anything about her adult self. To me, a better ending would have been to have him watch her lose her arm and maybe she is half waking as he leaves. and maybe Damon's character shows up to check on her. He was left without a horse and needing medical attention. It follows logically that he would end up where she was and that she would still be there because she wouldn't be well enough to travel yet. I don't know, I'm not a film maker, but that's what I think.

I don't agree Black Swan was too repetitive. Fingernail, fingernail, toenail, back... repetition only implies emphasis, and not once did I think it was going too far. I thought about the ending, too, where she would just fall onto a mattressless floor, die, and la dee dah. But I thought of that waaay before the ending. I think it would've been way too obvious at that point. This way, the mattress represents a certain goal and relief. We weren't sure that wound in her stomach was real, so there was still suspense after she had finished the performance as to whether she'd live or not. I think the ending was beautiful, and no movie in this entire year had captured me so deeply. I think I lost five pounds watching it, due to my heart racing for 2 hours straight.

I'm not sure how to feel about the cinematography in The Social Network. I thought it was just plain classy, and set the Harvard mood, for the most part, and the dreariness seemed fitting for the movie throughout. Not completely necessary, but it didn't distract me.

I have a problem with the ending of True Grit because after identifying with this character the whole movie we are thrown 25 years in the future to a grown woman we don't know to see her travel to see a man who is dead when she gets there. So she lost her arm and she never saw the dudes again. What kind of conclusion is that? I don't understand the point of seeing her grown when we don't really get the chance to learn anything about her adult self. To me, a better ending would have been to have him watch her lose her arm and maybe she is half waking as he leaves. and maybe Damon's character shows up to check on her. He was left without a horse and needing medical attention. It follows logically that he would end up where she was and that she would still be there because she wouldn't be well enough to travel yet. I don't know, I'm not a film maker, but that's what I think.

I see where you're coming from, but I liked the way it ended because it just feelt like it captured the gritty realism of the wild west (or how I imagine it). And I think her adult self was much like her child self - sensible and no nonsense. I thought it was very moving that she brought him back to her family plot.

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